Marthe Bernard

Margot takes Pete to her childhood cabin for the weekend. Everything is going perfectly, until they realize someone else has also been staying at the cabin. The film explores female sexual expression, the ache of nostalgia, and the struggle to stay true to yourself.

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The wedding of their youngest sister, Janet, brings Gwen and Kay home to St. John’s, Newfoundland. While Janet struggles to hide her family’s dysfunction, Kay can’t help but create chaos wherever she goes and Gwen finds herself paralyzed by a past secret. The complicated web of relationships between the sisters, their Aunt Maureen, their absent mother, and Kay’s young daughter Billie, is only illuminated by the wedding. Gwen’s attempts to get Kay to take responsibility for her daughter highlights her own abandonment of her ex, Tom, leading them all to a not-so-perfect storm of a reception.

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Two nearly-former lovers in the last conversation of their affair.

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A creative and driven teenager is desperate to escape his hometown and the haunting memories of his turbulent childhood.

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Canadian folk artist Maud Lewis falls in love with a fishmonger while working for him as a live-in housekeeper.

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Beat Down is an irreverent comedy about wrestling, family and following your dreams no matter how painful that can sometimes be. Fran Whiteway (Marthe Bernard, Republic of Doyle) is eighteen and a real firecracker. More than anything, Fran dreams of becoming a professional wrestler. Her single-father Whitey (Robb Wells, Trailer Park Boys) is a former-pro, aka White Lightning, with broken dreams of his own and is dead set against Fran wrestling. Fran is determined though and when Whitey's old rival Dark Thunder (Tony Nappo, Saw II) comes to town, she runs away to join his tour. Whitey is devastated and while he tries to get his daughter back, Fran learns the ropes of the wrestling game and of life itself.

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Jake Doyle and his ex-cop father, Malachy, run a Newfoundland detective agency. Their rugged seaside town never lacks for intriguing cases, and the Doyles don't always land on the right side of the law.

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In 1947 Whitbourne, Newfoundland, Alan Hepditch, a by-the-books but squeamish and somewhat dimwitted criminologist is constantly being tormented by his fellow ranger candidates and his sergeant, Bill O'Mara. Before Hepditch can quit, O'Mara, as a sort of punishment, assigns him to his first posting at Swyer's Harbour, where five sheep mutilations have taken place over the past year. When he arrives in Swyer's Harbour, Hepditch has a more serious crime to investigate, that of the murder of a local, mentally slow woman named Tryphenia Maud Pottle, better known to the locals as Young Triffie.

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For two best friends, Kathy and Selena couldn't seem more different. Kathy is confident, mysterious and alluring, while Selena is shy and inexperienced, forever standing in Kathy's shadow. However, when Selena is invited over the Kathy's house for the first time, hidden parts of Kathy's life are revealed, and her wall of confidence begins to crack. As brewing tension leads to a bitter face off between the girls, Kathy and Selena must choose between saving face and saving their friendship.

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Conceived, written and shot in Newfoundland, this study in grief and adolescent longing is a sure sign of local filmmaker Adriana Magg's huge potential. The plot centers on Crystal Janes, a young girl with an odd relationship to her dead brother. Typically moody and self absorbed, Crystal is nonetheless sensitive and smart. Growing up is hard enough in average families, let alone one still working through its grief and guilt. A strong performance by Marthe Bernard as Crystal helps to anchor the story in a strong sense of realism, ghostly presences and all.

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